Angus Young Gear List
This reference table covers the AC/DC guitarist’s instruments and amplification, from Gibson SGs to Marshall full stacks. It also lists his signature model and the Schaffer-Vega wireless system associated with his live sound.
The core setup is deliberately simple: guitar, amplifier and playing dynamics. Amp models changed by recording and tour.
At a glance
| Category | Representative gear | Notes |
|---|---|---|
| Guitar | Gibson SG Standard (late 1960s examples) | His main guitar across a long career. |
| Amplifier | Marshall 1959 Super Lead 100W Plexi | Marshall’s artist feature lists it among his primary heads. |
| Amplifier | Marshall JTM50 / JMP2203 | Used in different periods and recordings. |
| Cabinets | Marshall 1960AX / BX 4×12 | Examples loaded with Celestion G12-65 speakers. |
| Wireless / preamp | Schaffer-Vega Diversity System | The wireless system also adds preamp coloration. |
| Pedals | Very few | Guitar, amp volume and picking attack do most of the work. |
Guitars
| Instrument | Features | Use / period |
|---|---|---|
| Gibson SG Standard (late 1960s examples) | Lightweight double-cutaway solid-body guitar. Individual instruments differ in pickguard, neck and hardware details. | Angus’s main guitar from early AC/DC onward. |
| Multiple Gibson SG Standards | Several stage and spare guitars share the familiar SG look but are separate instruments. | Rotated between tours and performances. |
| Gibson Angus Young Signature SG | A signature model based on the SG style Young favored. | Commercial model; not identical to every guitar he owns. |
| Custom SG variants | Different details appear in tour photos and recordings. | Specific examples rather than a separate career-wide main guitar. |
| Gibson Les Paul | Young has used a Les Paul in an occasional recording context. | An exception; the SG remains his primary guitar. |
Amplifiers and cabinets
| Equipment | Features | Known use |
|---|---|---|
| Marshall 1959 Super Lead 100W Plexi | Four-input 100-watt head used as the basis of a full-stack setup. | Listed by Marshall as one of Young’s primary heads. |
| Marshall JTM50 | 50-watt head. | Included in Marshall’s gear list. |
| Marshall JMP2203 | Master-volume 100-watt head. | Marshall identifies it with the “Let There Be Rock” period. |
| Marshall 1960AX / BX 4×12 cabinets | Cabinets with Celestion G12-65 speakers in documented examples. | Representative full-stack configuration. |
| Celestion G12M cabinets | Speaker specifications varied between cabinets and periods. | Associated with the “Let There Be Rock” setup. |
| Marshall 50-watt heads | Young has described using 50-watt amps in the studio. | “Highway to Hell” recording period; distinct from touring stacks. |
Effects and wireless
| Equipment | Type | Role / notes |
|---|---|---|
| Schaffer-Vega Diversity System | Wireless / preamp | Wireless transmitter system with circuitry that can add thickness and color to the signal. |
| Wireless receiver systems | Stage wireless | Models changed over time to support movement on stage. |
| Overdrive / distortion pedals | Pedals | Young uses relatively few pedals; the amplifier and guitar are central. |
| Guitar volume control | Onboard control | Used with picking dynamics to shape the sound. |
| Microphones and live PA | Sound reinforcement | Cabinet miking and venue acoustics affect the live sound, but are separate from the guitar pedal chain. |
Gear by era and album
| Era / album | Guitar | Amps / related gear | Notes |
|---|---|---|---|
| Early AC/DC High Voltage / T.N.T. | Gibson SG Standard | Marshall amplifiers, simple signal path | The SG’s midrange and amp volume form the basic setup. |
| Let There Be Rock (1977) | SG | Marshall JMP2203, G12M cabinet examples | A period gear example listed by Marshall. |
| Highway to Hell (1979) | SG Standard | Marshall 50-watt studio amp, according to Young | Recording gear differs from live full stacks. |
| Back in Black (1980) | SG Standard | Marshall amplifiers and cabinets | Studio and tour configurations could differ. |
| 1980s onward touring | Multiple Gibson SGs and spare guitars | Marshall 1959 Super Lead, JTM family and full stacks | Models and head count changed by tour. |
| Recent live setups | Gibson SG / signature-style instruments | Marshall amps and contemporary wireless equipment | Similar-looking instruments can have different specifications. |
Gear by song
| Song / album | Associated equipment | Notes |
|---|---|---|
| “Let There Be Rock” | Gibson SG, Marshall JMP2203 and G12M cabinet examples | Marshall lists this as a period-specific setup. |
| “Highway to Hell” | Gibson SG, 50-watt Marshall studio amp | Young’s comments about recording; distinct from touring equipment. |
| “Back in Black” | Gibson SG and Marshall amps | Specific guitar examples vary by recording and live performance. |
| “Thunderstruck” | SG-style guitar and Marshall stack | Live guitars can change between performances. |
| “You Shook Me All Night Long” | Gibson SG and Marshall amplification | Representative album-era setup. |